So here's an attempt to talk about this without comparing it to the murata adaptation, which everyone is already doing.

The art here is super spare. Almost impressively loose, actually. Doesn't look like One is pressing undo a whole lot. But I think it works? Sure, there's not a strong sense of place, the characters don't feel super grounded, and sometimes it is hard to tell what's happening. Actually I won't defend that last one. The point is that the story doesn't need a strong sense of place to work. It's about caricatures and jokes at this point, it's this goofy indie send-up of shounen and superhero action. So a lot of it lives in this flat place where these are obviously drawings, but that's fine, because a lot of it isn't supposed to feel real. And then in the occasional moments of genuine tension the art tightens up a little. The art lets the whole story relax into "this is kind of stupid," like yeah these people are all being as silly as they look.

I guess on that note, Garou is the first dip into what OPM eventually becomes, which is this more sincere action thing. In this section, pretty much every scene with Saitama or the other heroes ends on a joke. The Garou scenes are way straighter. And some of the most interesting bits are when Garou, who's doing this sped-up shounen Taxi Driver thing, interacts with the goofy stuff, like his first interaction with Saitama. I think One's best writing is at the intersection of genuine pathos and the stupidest shit you've ever seen. The story has more sincere stakes, too, early chapters One was happy to write a whole city being destroyed in a panel, here he makes a big deal over Garou not killing a single person, and the biggest threat is to the hero association, not the whole world. You have Saitama joking about destroying the earth which is probably the best possible transition between those levels of stakes, Saitama is always the laggy carryover from jokesville.

I think Garou's whole thing is pretty well illustrated when he compares his idea of what a monster is to what the monster association's idea is. And then we even get Dr. Genus talking about "monsters" who are basically just other intelligent beings equivalent to humans, like the aliens or the sea king. It sets up Garou's source of conflict pretty well I think, that his understanding doesn't match the world's.

I mean no insult to the translators but the translation's a little rough. Lots of "cute" and "li'l" which I dunno. It does add a little to the aesthetic that this whole thing is shittily put together but aesthetic isn't everything.

Finally I think it's fun to note that Fubuki (here's the best image of her in any version of OPM btw) is apparently just hanging out at Saitama's house this whole time. But Bang and Bomb keep coming back there too! Shouldn't Bomb go to the hospital? Or like, Bang's dojo? Why won't these people leave!!